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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Jun 1, 2018 | Lempertz | Cologne | Modern Art | 242 | $****** - ****** | Kinder vor Bauernhaus. Verso: Birkenstämme und Haus | |||
Dec 3, 2015 | Ketterer Kunst | Munich | Klassische Moderne | 207 | $****** - ****** | Kinder vorm Bauernhaus |
paintings
46.5 x 55.5 cm (18.31 x 21.85 in)
Oil on artist's board
Monogrammed in brown lower left and dated 'PM-B 1901' in magenta on the right. Confirmed by Otto Modersohn in pencil "Dieses Bild kommt von Paula Modersohn-Becker 17.IV.20." verso upper left and inscribed upside down "L. 34" in brown
Private collection, Düsseldorf; Galerie Ludorff, Düsseldorf; Private collection, Berlin
Impressed by the primitive landscape, Paula Becker moved to Worpswede in 1898 in order to continue her studies with the painter Fritz Mackensen. There she met her future husband Otto Modersohn, whom she would marry in 1901. It was also with him that she became acquainted with Rainer Maria Rilke, who married her best friend, the sculptor Clara Westhoff. During her first years in Worpswede she created drawings from nature and compositional sketches that were often not carried out until later, for example, after her return from her first journey to Paris, where she encountered the works of the French avant-garde. In the years following 1900 Worpswede's landscape was her main theme; landscapes with figures and images of figures set directly in the midst of nature move shift into the focus of her attention. This applies in particular to the Worpswede farm children, whom she depicted individually or in groups, absorbed with their own world, isolated at the margins of events or playing with one another in an agricultural setting. Even if, as is the case here, there seems to be a certain distance between the artist and the group of children, she nonetheless observes the children's different presences and their playful dynamic within the group. Undistracted, uninhibited, affectionate and unsentimental in her response to their encounter, Modersohn-Becker depicts the village children in the space in front of a thatch-roofed shed. The artist recounts a fraction of a moment: a rearranging among the children before the event that seems to be about to take place. In her inimitable style Modersohn-Becker forms the confluence of the various details into a characteristic landscape with children, a warm-hearted homage to her picturesque surroundings.
Paula Modersohn-Becker
Dresden 1876 - 1907 Worpswede
Kinder vor Bauernhaus. Verso: Birkenstämme und Haus
Circa 1901
Oil on artist's board. 46.5 x 55.5 cm. Framed under glass. Monogrammed in brown lower left and dated 'PM-B 1901' in magenta on the right. Confirmed by Otto Modersohn in pencil "Dieses Bild kommt von Paula Modersohn-Becker 17.IV.20." verso upper left and inscribed upside down "L. 34" in brown. - Card edges partly slightly irregularly cut, drawing pin holes in the corners.
